Kevin Shields of My Bloody Valentine – Part 1: Obsession | Jazzmaster 60th Anniversary | Fender


[MUSIC] So how many total Jazzmasters do you have?>>Not a lot, not millions. 10, I think, maybe 11 or 12. Probably 12. There’s more, but
I’ve got lots of other ones, made up ones, Japanese ones, copy ones, so maybe 25, but 12 good ones. [MUSIC]
>>Much prefer that actually. [LAUGH]>>Sorry.>>You’re good. So you became kind of a collector of them.>>Kind of, but I need them. I need them, I need more. You know, I do. Because every time I have new
songs with different tunings, it’s just kind of like,
what am I going to do? It’s hard to tune live,
go from one extreme tuning to another without the neck that’s going, what, what,
and then going, okay, okay, it’s okay. Each guitar kind of
suits what’s happening. When I first knew about it through [INAUDIBLE] and I was a big fan of the Birthday Party. And Roland Howard played Jaguar. And it’s the shape, the shape,
because I wanted that shape, but I never actually had seen a Jazzmaster
in Ireland until 88, really. A friend of mine, Bill Carey, he
basically worked in Creation Records and decided they wanted to
make a record with us. Anyway, my friend Bill was like,
you’ve gotta use my guitars, and one of them was a Jazzmaster. It was a 64, a red 64, and it just
happened that the tremolo arm was set. They can all be a bit different, but his one was just set that ot was kind
of unusually high, just by pure luck. And I picked it up and
started to go, well, this is cool. And literally the first song
I ever did using it was the song from the Made Me Realize EP
called Thorn. [MUSIC] That was the first hour I discovered it. And then two hours later
I did a song called Slow, which was the first time I did
that melted kind of effect. [MUSIC] I put it through a reverse reverb,
and then thought that sounds good. And I then thought, turn the tone down. Thought, wow, it totally sounds
totally like some weird tape, sort of copy of a copy of a copy. And then I was playing fast and
started bending the tremolo arm, and it started going, [SOUND].
This all happened in one afternoon. I know it’s like, wow, this guitar, I’ve
never come across anything that do that. This one has been the main guitar
I’ve used now since I got it, which was in 2002 or something. Me and
Jay were in Denmark Street in London, there was a really cool guitar
theres hop called Vintage and Rare. We saw this on the wall. And it was expensive for
the time, all right, though I’ll try it anyway because it’s so
nice. And I tried it, and then Jay tried it and
he was playing away, and he was just like, get it, and I was
like, okay, that’s all I need to hear. [MUSIC] It’s totally 59, but the finish,
this part is on the 64. I have a funny feeling
though that the metal thing makes it a little brighter or zingier. I don’t know what it is. Having that finish should have killed
some of the tone, but it didn’t at all. I don’t know. It just was always,
I always thought it was a great look. It seems to go forward. Those guys who made those guitars,
they knew about cars. And they knew how to make things
look like they were going forward. It’s kind of going, flying through space. [MUSIC] And this one’s actually got a really,
really nice flat body. It’s really,
really light with a particularly, it’s got a fairly chunky neck, but
the profile gets heavier as it goes up. One of those really good bargains,
because it have been refinished. It just doesn’t go out of tune. It’s quite heat resistant,
and temperature resistant. When I started using this,
it’s near the end of the set and the room’s as hot as it’s going to get. And this is just like, it doesn’t care. Back in 2008, we got three custom
job ones at the same time. And this one’s just the lightest,
a more resonate one. This is wihen you sleep and play that one. That’s for that song. [MUSIC] Well this is this,
that’s that, the tape business, because that will allow to go in. It has to be very loose so
that when I’m playing, I’m not actually, if I don’t want to,
it doesn’t actually affect this. Nothing’s happening, you know what I mean? There I want it to happen.
[SOUND] Want it to, don’t want it to. It’s still moving just as much,
you know what I mean? And that’s the idea, it has to be
very loose for that to happen. And then the bridge itself,
I pull back as far as possible. It just means that as it moves, it’s going
like this more, as opposed to doing this. So I’d never go, ever. It’s impossible. I can’t do it, there’s nowhere to go. It is important as well for the chords,
because you’re bending chords a lot. People’s brains, they need to
hear where it comes up into tune. If you’re bending up and
down, it’s just like [SOUND],
it’s just wobbly nothingness. But if you’re going up into tune
all the time like that, like [SOUND]
in tune, in tune like that, your brain hears the tune,
hears where it should be. And it kind of ignores
the fact that actually 50% of the time,
everything I do is out of tune. [MUSIC] Jaguars and
Jazzmasters were both what I used. I just gravitated nearly solely
to the Jazzmaster in the 90’s. I was already a massive fan of the shape. I didn’t know what this was all about until I discovered it, you know what I mean? This meant I couldn’t
play guitar without this. [MUSIC]

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Comments

  1. Slow will always be one of my favorites i thought the same thing when i heard slow for the first time i was like it sounds like metal rock going thru a melted filter lmao so heavy n so melty at the same time fuckin beautiful sounds close ur eyes and listen to it while ur high and you will see colors

  2. I didn't know anything about these guitars or this music until I encountered Shields and his band. So glad I did. Strats and Teles are legendary guitars but it was these guitars that got me interested in Fender.

  3. I saw MBV live in Tokyo this summer. When people ask me what it was like, I say it's as if a giant made of sound had swallowed me whole, and I resided in his stomach for an hour and a half. A life altering experience – Kevin Shields is truly unparalleled in his musical genius.

  4. still has his accent after all these years. my jazzmaster sounds like shit but my jaguar sounds amazing. think you have to get lucky.

  5. These guys were influenced by MBV
    Check them out …

    https://open.spotify.com/track/6jDs8XDtnoh9g2dZSbXnaF?si=xfCVGo7yRrSXsFK13YDPiQ

  6. Yes, we get it. He uses a Jazzmaster. But can you PLEASE(!!!) show us his collection of vacuum cleaners? I've dabbled with Hoovers and Shop Vacs, but I am not quite getting that "Loveless" tone. Does anybody know what Kevin used?

  7. I’ve seen the amp wall, the pedal rig rundown…the extensive jazz master collection is really amazing…wish I could see them all.

  8. Anyone else notice that his number one guitar, the one J told him to buy, is basically J Mascis Signature Fender Jazzmaster? And that the second, cream coloured jazzmaster he shows off is basically J Masics Signature Squire Fender Jazzmaster? I guess J likes Kevins guitars alot.

  9. MBV unplugged…? anywhere…? anyone..? i know it seems unlikely but something tells me it would be awesome

  10. This man is a genius. Small venue, Marshall stacks, ear-bleeding volume and Belinda looking drop dead gorgeous. I am in Heaven.

  11. Ah wow, was lucky enough 2 meet Kevin at J Mascis in Dublin in 2015. He chatted away 2 me like a normal person, me drooling away about Loveless like an idiot. Love how J made Him buy that Jazzmaster, fate. Prince, Kevin and J, the reason I play guitar. Incredible video, thanks 4 posting 🙂

  12. ..what a shameful waste of classic Jazzmasters on the offensive and talentless cacophony to which this nobody subjects the tasteless and musically crippled adolescent public.

  13. So, by this video we've all learned that writing songs with different tunnings is a good excuse to buy more guitars

  14. My main guitar is a highly modified 2010 Classic Player Jazzmaster. The thing literally stays in tune for weeks. Plays like absolute butter. I’ve got a Novak PAF in the bridge. Left handed volume pot (for swells) I also dropped it down to 500k and a PIO cap. I put a better cap in the “rhythm circuit” and applied that circuit to the bridge instead of neck pickup.

  15. man who remembers kevin talking about new mbv music this year, last year? he said all that stuff about new music coming out in 2019 and we neva got it:(

  16. I wonder if he could describe the musical quality of his tinnitus. Also – is he not deaf already? I'm surprised.

  17. I have a Strat, Tele, SG, as my main electrics. I’ve loved the look of jazz masters since I’d seen Sonic Youth and J Mascis play them. I had a Jaguar for a few days, but exchanged it back for a used 60s reissue American Strat, bc the Jaguar saddle in 1993 absolutely sucked. I’ve since picked up so many different Jazzmasters, and have yet to find one that feels right to me. I haven’t picked up a more high end one in a long time. I remember when Guitar shops started carrying them more often in the early-mid 90s, and now any Guitar Center, or Sweetwater has an absolute ton of them in various tiers . I’m curious now , after seeing this video, what a nice, higher end one feels like. Not a crazy 4K custom shop one, but just maybe an American Pro. There’s a shop in Brooklyn, which is an hour and change from me, in NJ, that just got a 1965 pretty mint, all original parts in sunburst, for 6,000, and it’s already sold. There are a bunch of 1965s on Reverb, that are in the 4-5,000 range(still crazy expensive, and I’d rather go w a custom shop one for that money, since a lot of vintage guitars can be really finicky) This video def made me want to find one I like, and get one, maybe get a mid range one, and swap the pickups out for P90s. Great video. Look up the Show Me Your Junk episode on YouTube, with Lee Renaldo from Sonic Youth, if you wanna see some amazing jazzmasters, old amps, pedals. It’s amazing. Unfortunately they don’t make the Lee Renaldo or Thurston Moore Jazzmasters, which both only had no switches, and one knob on them , to control volume. Really cool.

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